FILTER: None

LENS: LUMIX S 18-40 4.5-6.3

Panasonic S9

Natural

I'm very impressed with this camera so far, but it's the first LUMIX full-frame camera I've been able to test, so it's been pretty interesting (after testing so many Micro Four Thirds bodies, which I still like). If you've used the LUTs and CUSTOM SETTINGS for the other cameras we've tested, you will feel right at home with our process...but this has the option to use REAL-TIME LUTs (so we are going to have to create some new procedures to make sure these settings can work, with or without REAL-TIME LUT)...more information to come!

FILTER: None

Minolta AF 28-85 3.5-4.5

Panasonic G85

Natural

Still testing, but so far not a good lens for this sensor...

FILTER: CPL (PolarPro)

LENS: Rokinon 24 3.5 Tilt Shift

Panasonic S9

Cinelike D2

This was my second test of this lens-sensor combination, and last time I was using the NATURAL profile, but I found that the characteristics of this lens (color rendering, etc.) are working better with CINELIKE D2 (so that's what I use now). My use case for this lens is focused on architectural content. I'll need to create a Lightroom preset (for processing bracketed still photos) as well, because that is the traditional workflow...but I'm kind of interested in seeing if I can be a little bit innovative, and try out the real-time LUT option as well :-)

FILTER: CPL

Sony DT 16–50 2.8

Panasonic G95

FILTER: UV-Haze

Sony DT 16–50 2.8

Panasonic G95

I am starting to think that this camera (sensor and image processing) is no where near as flexible as the older G85, which I was able to customize for a lot of lenses...this camera has only worked well with one so far (the 70-300 1:2 MACRO from Tamron, Promaster, Quantaray).

FILTER: None

Sony DT 16–50 2.8

Panasonic G95

FILTER: None

LENS: Quantaray 35-70 3.5-4.5

Panasonic S9

Natural

I am pretty sure this is a Sigma lens (based on the identical physical design, with minor differences in the rubber grip design...and the bright green lens identification lettering). This is only my second test with the LUMIX S9, and I must say these results are really good, especially for a lens that is not well spoken of, thanks to people judging the lens by the reviews people wrote a long time ago, when the lens was used mostly on film cameras.

FILTER: CPL (Circular Polarizer)

LENS: Samyang 18-28 4-4.5

Panasonic S9

Natural

Stills were taken from video at: 6K, 30p, 4:2:0, 10-bit, LongGOP, LPCM, 200Mbps This was my first lens test with the Panasonic LUMIX S9, and so I'm still trying to figure out the best way to do these tests (this was done WITHOUT the real-time LUT function, so I may do another test starting with the RAW still image, then make the LUT, then figure out the remainder of the settings...not sure what the workflow is going to be, yet). I think I should test again, with -1 SHARPNESS.

FILTER: None

Promaster 70-300 4-5.6 LD

Panasonic G95

Natural

Ok, so I'm getting used to doing tests on the G95...and this was only my 3rd test, but I'm already seeing the potential of this sensor. First of all (and I say this a lot) I have to say that image this sensor produces is MUCH different than the G85 (and GX85) and I'm getting close to saying it really is better...but the approach to the custom settings is a lot different (will explain more in later, in a BLOG post). So then, the CUSTOM SETTINGS specifically for this lens are working pretty well, and creates an image that is not perfect SOOC, but it is a really good starting point, to add a mild finishing LUT later. I've been noticing that G95 lets you push the HIGHLIGHT SHADOW curve a lot farther than the G85, without it looking wierd (the G85 goes into that fake HDR look a lot of the time, when you push it beyond -3+3 in the curves).

FILTER: None (Bare)

Nikon 50 1.8 D

Panasonic G95

Natural

These are initial settings for use in my product studio (it's for eBay products on a white background) and so I'm not going to say these settings are good for everything, yet. Also, note that these settings are specific to using a very old Vivitar 2X MACRO teleconverter (Nikon F, AI vintage). STUDIO FLASH NOTES: To trigger the studio flash, we're firing a little flash from the hot shoe (pointing to the side) and using 1/160 shutter speed (to sync with flash) and using ISO 200 and an aperture value of f/8 (and the aperture is manually controlled on the lens barrel).

FILTER: None (BARE)

Minolta MD 28-70 3.5-4.8

Panasonic G85

Natural

These CUSTOM SETTINGS actually produce an image that is good almost SOOC (Straight Out of Camera) and yet with a bit more CONTRAST than is REAL...but it might actually work well when uploading to YouTube (which seems to change things a little). One thing that is interesting, is this lens has so much CONTRAST it's pretty impressive but not realistic...These settings correct for that, and the result is a pretty good image, but the lens is not very sharp, and so I added SHARPNESS to make it look more realistic (and did other things too). It also has an interesting HIGHLIGHT SHADOW curve applied, and it was difficult to figure it out to start with. In the end, I may not keep this lens, but it's not because of the image quality, but because I've been figuring out that, if I'm buying full frame lenses (like this one) to potentially be used both on full frame AND Micro Four Thirds, then it really needs to start at around 24mm (or wider) to be good tool for me.

FILTER: CPL (PolarPro)

Rokinon Tilt-Shift 24 3.5

Panasonic G85

Natural

Wow. I'll write more about this later, but this is the second Rokinon prime lens that turned out super good when using the Panasonic G85 sensor (the other was the Rokinon Cine 85 T1.5). For some reason, they just have enough, but not too much SHARPNESS, and the CONTRAST is very manageable. I'll have to say, I just tested the same lens on a full-frame Nikon Z5 v1, and that camera cannot handle the level of contrast this lens has...but I am really starting to appreciate the custom settings of these LUMIX cameras, even these older ones that don't have real-time LUT capability.